Latest Film Reviews
Never Let Me Go (2010)
Say this for
Never Let Me Go
, the new film adaptation of Kazuo Ishiguro's celebrated novel: you haven't seen anything like it at the movies this year.
may not much tease the intellect, but one would have to be a rock to be unmoved by the true story’s dramatic arc, well played by Swank and Rockwell.
Another Year (2010)
In achieving a credible realism, Leigh and his actors refreshingly avoid the tidy and obvious.
Red Hill (2010)
Hughes shows chops in setting a mood and carrying out the grisly business of shotgun showdowns and torturous mano a mano sessions...
(To the tune of “Mister Ed”:)
We’ve had us a film about a horse.
got Oscar nods, of course.
So another race horse on us they’ll force:
Stars four Oscar-winning actors. It’s not every day that you’re able to use 'Helen Mirren' and 'heavy artillery' in the same sentence, but
gives you the opportunity.
Barney's Version (2010)
is nothing if not a character study, Giamatti is the surly, sarcastic selling point.
Jack Goes Boating (2010)
Hoffman’s actorly sensibility allows the film’s best moments, expressed in gestures and non-verbal signifiers...
Broadcast News (1987)
By looking at the small-screen picture...[Brooks] provocatively suggests that America's socio-political problems are pretty much the same as the personal problems of its citizens.
Justified: The Complete First Season (2010)
shares Leonard's love of character, dialogue, and situation drama, and nicely evokes its master's voice.
Blood, sweat and oil...the only thing worse than the dark, hellish, odorous claustrophobia of the tank's innards is the tunnel vision afforded by the gun-sight...
The Green Hornet (2011)
Spews noxious gas and obnoxious patter.
L'Armée des ombres (Army of Shadows) (2006)
Melville outlines the valorous and dirty deeds of heroes in taut action sequences that reach unusually existential heights.
Wall Street: Money Never Sleeps (2010)
Though the carpe diem theme comes as something of a surprise,
Wall Street: Money Never Sleeps
makes its political points, with 'moral hazard'—the dark side of second chances—the film’s punny refrain.
doesn’t seem to have much to say about all this sadness, except that death, like love, makes us want to be better people.
Laugh It Up, Fuzzball: The Family Guy Trilogy (2010)
Has it really been over twenty years since
? And yet the
parody business is still booming.
True Grit (1969)
The girl with the strength of a man, and the man with a sensitive heart (albeit under layers of crust). The calculated softening of Wayne's macho persona at long last won him the Oscar.
Rush Hour (1998)
Chan...can make something out of nothing, while Ratner's chief skills seem to be talking himself into the director's chair and hiring the right people.
Agatha Christie's Poirot: Murder on the Orient Express (2010)
Makes a choice to eschew fun in favor of pitch-black tonality...but kudos to Harcourt and Martin for their ambition in adding new dimension to an old story.
Step Up 3D (2010)
Incredibly stupid in just about every way. And yet, it had what may have been my favorite scene at the movies this year...
Slings & Arrows: The Complete Collection (2010)
It's about what makes these particular personalities tick, what draws them to the madness of theater, and the eternal conflict of art and commerce.
Despite being a moving reminder to support our troops,
cannot help but be "Exhibit A" in the case against the unwinnable "War on Terror."
The A-Team (2010)
Frantic without bringing the fun.
Rabbit Hole (2010)
The film’s impeccable emotional truth and delicate touches of black humor owe in equal part to screenwriter, director and stars.
feels like it’s made by the grandchild of Antonioni (and, in an artistic sense, perhaps it is). It’ll drive at least half the audience crazy, while the rest will walk out with a light buzz.
Space 1999: The Complete First Season (1975)
Big in scope, but not necessarily in a good way.
Momentarily exciting but utter nonsense, a Burmese Tiger Pit built over a gaping plot hole.
Knight and Day (2010)
As a pure popcorn, dreams-writ-large, kiss-kiss-bang-bang, globetrotting romp,
Knight and Day
Shrek: The Whole Story (2010)
Now that the
franchise has come to a close, it's time for the definitive collection on home video.
I Love You Phillip Morris (2010)
It’s funny because it’s true. That’s the idea behind the mad-love story
I Love You Phillip Morris
, which gets its kicks by being much stranger than fiction.
The creator of
returns to the black comedy of
, a goofy satire on the wages of the war machine.
The simplest way to sum up the greatness of
is to identify it as a new classic of science-fiction cinema (and, for that matter, the heist genre).
The Twilight Saga: Eclipse (2010)
Picturesque photography, amped-up action, borrowed poetry, and age-old romance have
The Twilight Saga
on its surest footing yet—that is, until the youngsters grow up and realize
tells the same story so much better.
Fantasia/Fantasia 2000 (1940)
didn’t perform as well as Walt Disney had hoped, it remains a testament to his exceptional cinematic genius.
Going the Distance (2010)
The raison d’être of
Going the Distance
is exploring long-distance relationships. What a shame, then, that it has nothing much to say on the subject that isn’t completely obvious.
Mutiny on the Bounty (1935)
The performances by Gable and Tone hold up as fine star and character turns, respectively, but it's Laughton's Bligh that proves unforgettable.
Sondheim! The Birthday Concert (2010)
Gathers a starry group to bow down to the beloved musical-theatre auteur.
The Nutcracker in 3D (2010)
Vienna. The 1920s. Albert Einstein sings...a world of proto-Nazi space-ranger rats led by a nasty, singing Andy Warhol rodent. But I don’t have to tell you the beloved story of
The Sorcerer's Apprentice (2010)
This PG-rated Jerry Bruckheimer production is slick as an oiled weasel: larded with fancy special effects, canned romance, corny humor and a general lack of sophistication.
America Lost and Found: The BBS Story (2010)
Seven important American films from the fabled period when unconventional, independent-minded filmmaking was regarded not only as art but as a marketable asset.
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